Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Sweden and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Tokyo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Adolescents to the grime kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gang of Four. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Eve St. Jones,
Barry Ungar,
Bauhaus,
Gian Franco Pienzio,
Juan Atkins,
MC5,
Fela Kuti,
The Mighty Diamonds,
Crime,
Monks,
Fort Wilson Riot,
Lakeside,
The Velvet Underground,
Soul II Soul,
The Men They Couldn't Hang,
Deakin,
Alphaville,
Rapeman,
Lou Reed & Metallica,
John Coltrane,
Monolake,
Lightning Bolt,
Henry Cow,
David McCallum,
Lalo Schifrin,
Funky Four + One,
The Raincoats,
Leonard Cohen,
A Certain Ratio,
Camberwell Now,
Eurythmics,
London Community Gospel Choir,
Al Stewart,
The Fuzztones,
Joyce Sims,
Chrome,
Bill Near,
The New Christs,
Niagra,
Rekid,
Franke,
Art Ensemble Of Chicago,
Drexciya,
Easy Going,
Gastr Del Sol,
Danielle Patucci,
Roy Ayers Ubiquity,
Television,
Sun City Girls,
The Victims,
Warsaw,
Crispian St. Peters,
Don Cherry,
The United States of America,
Skriet,
Tubeway Army,
Japan,
Babytalk,
Sunsets and Hearts,
X-102, X-102, X-102, X-102.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.